Abstract: The subject of the study is the grotesque reflections of the occupation period in France in first novels Of Boris Vian. The shocking news about the payments of pensions to collaborators of the Nazi regime to the present day makes us turn again to the topic of the occupation of European countries in the Second World War and actualizes the reflection of this period in the literature. These considerations determined the choice of the author by considering the work of Boris Vian. Firstly, the first novels by Vian were created directly during the occupation of France, and secondly, a writer is known for his non-engagement. For this reason, many scholars of Vian's art do not give a proper evaluation of his political views, describing him as a dreamer, cut off from the war by lively parties and jazz. The methodology of the work is determined by the tradition of historical and literary research: the writer's work is examined in connection with the literary and socio-political process of the era. The novelty of the research is due to the decoding of the deep meanings of the civil identity of the writer encoded in comic grotesque, pataphysically constructed world of his first works. The author of the article concludes that such violent desire to make the reader laugh in his first novels, which reaches a grotesque limit, looks like an attempt, if not to laugh in order not to cry, then certainly to laugh in order not to think. It is shown that Vian will carry the awareness of the war through his entire life even being cut off by non-engagement. The rebellious tendencies encoded in his first novels and which have not received the worthy embodiment in real acts, invisibly become the reason of duality of the personality of the writer, and in some cases and are frankly expressed in his creativity.